Early on in Star Trek: Section 31, Michelle Yeoh’s crafty Emperor Philippa Georgiou is confronted by a visitor with ties to the Federation. She looks the guy over and purrs: “Starfleet… where fun goes to die.” Great line. Ironically, it acts as a kind of foreshadowing of what viewers — especially Trekkies — might experience while watching this long-awaited offering, which started out as a spin-off series for Star Trek: Discovery then morphed into the movie-event iteration we see here. One would never call Star Trek: Section 31 boring, but it’s not altogether all that fun either. That’s because there’s a vital component missing: Star Trek.
Sure, it’s easy to understand that director Olatunde Osunsanmi (Falling Skies) and Discovery writer Craig Sweeny wanted to feature a grittier side to the Federation space with a flurry of rebellious characters, but lost in the process are the kind of sci-fi components that made Star Trek creator Gene Roddenberry’s shows so appealing — from the original series and Star Trek: The Next Generation to the 21st century films, Star Trek: Picard (especially Season 3), and Discovery. You see, there’s always been an underlying tone of good and grace even in the moodiest and darkest of Star Trek, but here, that valued sense of hope and, more importantly, a connective thread to humanity has been sucked out faster than air in a punctured starship.
More eyebrow-raising is the execution of this entire production. From its darkly lit sets, oftentimes hazy picture quality, disjointed editing, and frenetic pace — we can dole out brownie points for pithy dialogue, however — Section 31 is a misfire. But you’ll watch it till the end, mostly because our dear Ms. Yeoh makes the best of the material she’s given, and you get the sense that with a little more care and craftsmanship, another go around might be more fun with some of these characters. (Kinda?) What we’re left with is a kind of Ocean’s Eleven by way of Guardians of the Galaxy with touches of Star Trek: Deep Space Nine. Interesting, but — help us out here, Klingons! — what the Gre’thor!?
Where No Trek Has Gone Before
In this Paramount+ exclusive movie event, Michelle Yeoh returns as Emperor Philippa Georgiou, who was first introduced in Star Trek: Discovery Season 1. Star Trek: Section 31 centers on Yeoh’s character as she faces her past sins and is recruited by Starfleet’s secret division that protects the United Federation of Planets.
Release Date
January 24, 2025
Writers
Craig Sweeney
Studio
CBS Studios, Secret Hideout, Roddenberry Entertainment
Distributor(s)
Paramount Pictures
Where To Stream
Paramount Plus
Pros
- Michelle Yeoh and Omari Hardwick are great and have good chemistry.
- There are some good action scenes and some laughs.
Cons
- The whole production feels like it’s been written and rewritten many times and doesn’t know what to be.
- The cinematography is murky, the editing is confusing, and everything looks kind of ugly.
- Lacks the imagination and optimism that makes Star Trek great.
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Clearly, we’re in new Trek territory thematically. But kudos to the premise. Last time we saw Philippa Georgiou was on Star Trek: Discovery’s two-parter in Season 3, Terra Firma. Off she went to the ominous Section 31. We learn more about it now. But first: A flashback to Philippa’s past, specifically Teran, where Young P has partaken in a kind of Squid Game competition to see who becomes the next emperor. She wins, of course, but what she has to do to get there gives us a glimpse of how this character’s cruel streak began. Maybe she’s been relying on survival instincts all along. Or maybe she’s just one contentious soul.
In “present day,” a voice-over from a Federation officer reminds us that in the year 2257, Philippa was brought to a new universe — and, in effect, Section 31 — but after a few years, she went missing. A ragtag team of Starfleet commandos are assigned to find her and unravel some brouhaha unfolding just outside of Section 31 and, in turn, Federation space. Off to a groovy looking space station the team goes, where they soon find Philippa at the helm in all her glory — girl is looking ever so fine in pumps, a colorful gown and a nice ’do. Omari Hardwick’s Alok and his team try to sway Philippa to help them nab a super weapon before it gets into the wrong hands, to which Phillipa raises an eyebrow and says, “Cute idea.”
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Alas, their teaming is inevitable, and the gang is off. Of this group, Hardwick and Sam Richardson’s (Veep) Quasi, a shapeshifter, stand out. The rest of the crew, while offering their best with what’s been handed to them, feel superfluous — fighter Robert Kazinsky (Zeph). Kacey Rohl (Garrett), and Sven Ruygrok’s Fuzz, a Vulcan being controlled by a species that hacks people’s bodies. There just isn’t enough time to get to know these characters or care about their outcomes.
Is THIS the Final Frontier?
Philippa, on the other hand, we do care about. For her part, Yeoh is exceptional. Reportedly, it was the star’s idea to leap off into her own series. But then Everything Everywhere All at Once became a hit. Between that and Paramount+ tightening its coffers, you get the sense that this outing got retooled far too many times. The look and tone of the film, for instance, is a stark contrast from any kind of Trek we’ve seen. You may recall numerous Star Trek series where the characters often found themselves in caves or trapped in confined dark chambers, and even in starships, but the production quality also made these scenes pop and come to life and, in essence, look great and seem believable. (Read: better lit.)
The story itself here tends to bog down in the middle when writer Craig Sweeny gives viewers a chance to catch their breath. It’s a creative boxing match up until that point with characters popping in, some dying, and fights happening with properly cued music crescendos accompanying the ride. At times, these scenes feel like borderline farce. The film has more elements of humor than most Treks, but something always feels a tad off balance. But Yeoh is a thrill throughout. Somewhere, about two-thirds into the film, you can see how this would have made a better series instead of (what feels like) a stitched together Plan B. Omari Hardwick has the makings of a great leading man and, opposite Yeoh, the two generate great chemistry.
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Some Surprises Make ‘Section 31’ Barely Enough for ‘Star Trek’ Fans
Other characters who hold their own: James Hiroyuki Liao’s San and Joe Pingue’s Dada Noe. The writing limits what these two can really do and there’s a lack of deeper understanding of them, though. They feel like traditional tropes tossed into the mix to flush out the story. Meanwhile, in showing us Philippa’s past early on, we’re bound to assume that what transpired there may boomerang back and give the character a broader opportunity for reflection and transformation. In a way, yes. And Yeoh is believable on that front, but that’s a tricky tightrope act for a character as complex as Philippa.
Along the way, some surprises — and surprise guest appearances — emerge. They land well. Celebrate them. All that coupled with (just enough) slick action sequences give this outing barely enough creative fuel to fly. But not high enough. Star Trek: Section 31 streams on Paramount+ January 24. Watch it through the link below:
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